CALM WITH HORSES (THE SHADOW OF VIOLENCE) (2020)
“Its touching and poignant, with a sheer and true aesthetic.”
Read MoreSENTINELLE (2021)
“story with dedicated heart and some appreciated visual aplomb”
Read MoreDUNE DRIFTER (2020)
“throws its middleweight pounds behind its punches to land some stiff shots”
Read MoreTWO OF US (2021)
“an elegant and somber triumph”
Read MoreSAINT MAUD (2021)
“trapped terror of dark catholic femininity”
Read MoreLUZ: THE FLOWER OF EVIL (2019)
“moments of splendor paired with the jumbled cultish familial strife”
Read MoreANOTHER ROUND (2020)
“Dismaying and droll, depending on which side that bottle cap falls for you”
Read MoreFUNNY BOY (2020)
“at once too thin and overstuffed simultaneously”
Read MoreWOLFWALKERS (2020)
“Endearing and touching, as most almost all Cartoon Saloon films are”
Read MoreCOLLECTIVE (2020)
“might be the best journalism doc or film I have ever seen”
Read MoreSORRY WE MISSED YOU (2020)
“a naturalness that invites and embeds within you”
Read MoreTHE MAN WHO FEELS NO PAIN (2019)
“a martial arts superhero-type adventure, via Indian sensibilities and culture smashed with a flamboyant American aesthetic”
Read MoreKILLERS WITHIN (2019)
“its main selling point is the reptillians”
Read MoreVIOLENCE VOYAGER (2019)
“a little succor at the sinewy teat of the strange”
Read More#ALIVE (2020)
“An otaku gets stuck in his apartment during the zombie apocalypse”
Read MoreTHE HOLE IN THE GROUND (2019)
“Hole is an enticing creeper that gives a little too much away”
Read MoreCUTIES (2020)
“never done to aggrandize or proliferate, but to recognize, analyze, and critique that penchant within our modern world to precipitantly plant the mature despite its harmful fruit”
Read MoreTHE WRATH (2019)
“reliance on jump scares when some of the mood setup is creepily effective was a mistake”
Read MoreA SERIAL KILLER'S GUIDE TO LIFE (2020)
“helma and Louise by way of Fight Club, with the lightest dusting of a God Save America sprinkled on top.”
Read MoreLUZ (2019)
“evocative “retro fantastique”, but with a dour european oppression”
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